Kristina Marie Darling’s new collection, Women and Ghosts, is billed as a book of essays; however, the book is an ambitious hybrid of lyric essay, literary criticism, poetry, and playwriting. Women and Ghosts is a stunning and spare account of the female characters in various Shakespearean plays partially written from the perspectives of the characters themselves—Ophelia, Cleopatra, Desdemona, and others. The other voices that make up the book include a critic, a playwright, actors, and a female speaker who seems to take on the persona of the contemporary poet herself. This contemporary speaker recounts a relationship where a man dominates her, and this story is multiplied back across all of Shakespeare’s female characters, which were of course in similar situations themselves. In other words—the chorus of female voices silencing, shouting, and stuffing this famous man’s words is impressive.
The book physically appears to be ghosted—most of the text is printed in a light grayscale that may be difficult for some to read. A few, fragile words rise to the surface of the page. Some phrases are crossed out, especially in the opening section, “Daylight Has Already Come” and the two later sections, “Essays on Production” and “Essays on Props.” Darling also keeps her favorite props close here in Women and Ghosts. Fans of her work from books like X Marks the Dress and Fortress will recognize the “good” silver, flowers, fine china, and lush John Singer Sargent-like fabrics, particularly described in women’s dresses, that dot this landscape.
Darling’s work owes a great deal to Jen Bervin's trailblazing book, Nets, a collection of erasure poems using the source text of Shakespeare’s sonnets, but Darling extends outward from this. Women and Ghosts shows us an author whose critical and creative sides meet at a rocky confluence. Aside from the critical sections, the book reads as part narrative and part performance. The duality exists most obviously in the “Women and Ghosts” section where Shakespearean scenes are summarized briefly and below, a different story is told in the footnotes. For example, the summary of Othello’s final scene simply reads, “Othello ends when Desdemona is smothered and left for dead.” However, in the footnote, the speaker wonders, “If I can act like a girl who just fell in love. Maybe then I will be able to speak” (29). This quote could be looked at as a summary of the summary. It’s conceivable that Desdemona would have this thought as her husband smothered her. It seems more likely, however, that the poet/speaker is channeling Desdemona in her own contemporary life.
Un/Wired, post-modernist Canadian Satire from the West Coast.
Byline: Subterranean Blue Poetry
Title of Book: Un/Wired
Author: Stephen Bett
Date of Publication: 2016
“Dropkick me, Jesus, through the goal posts of life.”
- from Dropkick Me Jesus by Bobby Bare
Un/Wired is the 18th book of poetry by celebrated Canadian Poet Stephen Bett, is a distinctly Vancouver, West Coast Canadian event, a Poet’s sid criminy. He has been widely published internationally and his personal papers are being archived at Simon Fraser University. He is a newly retired college professor and lives in British Columbia with his wife Katie. This is the third book of poetry This Writer has reviewed for Poet Bett, the first two being Sound Off: a book of jazz and Breathing Arizona.
This book is largely a satire on culture, a sendup of the common man, the unthinking, the state of the unconscious violence of the Western World that feeds into the monied corporate elite. As if the common man is sitting alone in the middle of a vacant lot wondering what just happenned. Un/Wired breaks new ground, trashing sacred cows with a wink and a promise.
The Poet’s roots are in the protest movement of the Hippies and the 1960’s with the Beat Poet’s coming to the fore. In the satire pieces it is as if he is wearing a mask, portraying some good ol’ boy in the shop, somewhat reminiscent of a more sophisticated Charlie Farquharson, a comedic character invented by Canadian Comedian/Writer/Actor Don Harron and portrayed on stage and in books.
“Corporate Verbs On Hold
“We are leveraging our core competencies
to meet our customers [sic] needs [sic!].
Can you ballpark that low-end little hanky-pank toy for me?
Yes, done, & I’ll stick it up yr third base.
Can you dialogue on this lefty-lucy screwed up itsy-bitsy nutball for me?
Surely can, I’ll break it down in threads & boot it over your discretely stained lover-lie logbook, little puss.
Could you dis ambiguate this foamy wet freakin’ frontal screen for me?
Yes, surely I’ll spank it right through your wide open tailgate, little beav’.
Will you facilitate this toxic little bo-jingle-jangle wrangled wrinkle for me?
Yo (& yo again) I’ll wax your face up stiff & botox your wee mouth shut.
Won’t you pul-ease ideate this knotty smokin’ cracker-jacked idee fixe for me?
No can do, I’ll just toss it in your thought-box to ripple rot, little bindipper . . . “
The Poet plays with language, sometimes inventing new words, tangles and repeats words, dangles words in escarpment, an event. Most of the poetry is short tight sentences, minimalist, turning the words in on themselves with an edge of humor, a sawed off shotgun delivery, a projection of the violent culture. A jazz beat. “a bar, a bar, a bar . . . a bar harbour”
“Brought to You By . . .
You use a product to wash out the grey
you get laid
You eat a slo-fry soul food
you get laid
You buy a so badass Euro-zone car
you get laid
Drink a snappy nafty micro brewski
you get laid
Swallow a lil’ lite blue pill
you get laid (repeatedly)
You watch co’mmercial after co’mmercial
you get laid (& laid)
The book has a fantastical blue, black and white cover with binary numbers. It is divided into 4 chapters, “Pre-Wired”, “Soft-Wired”, “Hard-Wired” and “Un-Wired”. Reading the book cover to cover, it starts slow and builds into a crescendo. Beginning with satire and then in the last chapter some love poetry that highlights the emotional violence of having had too many lovers. Themes include, his grown children, his wife, the Internet, gun violence, corporate America, jazz music, American politics and culture, world politics and more.
There are at least 3 poems that touch on gun violence in the United States, a send up of the not too smart politics/attitudes that perpetuates a war culture, “Some Forms of Insanity are Instantly Insaner than Others”, “A-muricondo.edu” and “April 12th Another Day in Cleveland”. In the United States a significant number of people are murdered by gun violence; in 2013, 33,169 died by gun violence (excluding death by legal intervention).
“Some Forms of Insanity are Instantly Insaner than Others
The NRA back in the dark
& dusky shadows again
after the latest massacre
in the U.S. of A Minus
(twenty 5 & 6 year olds):
Guns don’t kill people;
People kill people!
Here’s your upgraded semi-
automatic 100 round per
nano-second bumper sticker
for folksy woodsmen &
wigged-out 2nd Amendment
People with guns kill people,
And for all the young & wacked-out
gun totin’ American-o desperad-o
shooters out there let’s update
another lil’ “teacher certified”
Sartrified bumper sticker
for y’all . . .
Hell is – other people’s
I once had a conversation with a friends older brother when in high school that went something like this, I said, “Who needs to buy a gun, if they’re not hunters, hunting animals, who would need a gun?” He said, “People buy guns because they’re going to kill people . . come on” and he looked at me as if I was stupid. And I looked at him in my naive green teenage youth and thought he was insane and indeed if this was true the world was insane. “what did this mean?” Thirty-five years later with a better understanding of the cultural malaise and “the cult of ego”, I have a better understanding of why, but I still think the violence of the United States is insane.
A subtle, raw edge, jazz to jazz in the N.A. street. A fantastical work of post-modernist satire exposing the bones of the violent Western malaise in an exciting evolution of the Beat Poet tradition, Un/Wired by Stephen Bett.Read more »
Wake and Drink by Laura Madeline Wiseman
Reviewed by Octavia Cade
30 March 2016
These two poetry collections are reviewed together. There's some similarity between them: both are centred on family and myth, with metaphors both mortuary and marine. Both are worth reading, although if you've only got time for one, I'd recommend you go for Drink. I'll get to that one in a bit.
Wake is the slimmer of the two volumes, and it is primarily concerned with death—specifically, relationships with death. Before death, after death, how monsters approach death and how women do. The last of these is particularly relevant, as Wiseman's death is a woman, come in the form of a sister. This female, familiar perception is not one I've come across often—barring F.G. Haghenbeck's portrayal of Godmother Death in The Secret Book of Frida Kahlo, or Death in Neil Gaiman's Sandman series, for instance—and it gives an interesting flavour to the text, one that's underlined and simultaneously undercut by the unsympathetic portrayals of corporeal sisters.
"Unsaid Negative Confession: We Hate You" (p. 49) has the poem's narrator screaming her hatred at a sister who stands block-like, impervious. Apparently she feels nothing; the hatred doesn't touch her—which is what you'd expect from a death-sister and not a blood one. Everything dies, and tantrums on the stairs make no difference. The mythological carries on, undisturbed by the messiness of human emotions and accusations. Yet the attraction remains, the sense of family loyalty even if it's one-sided.
"I like monsters" says the poet (in "Preference," p. 56). Yet "My sister is a monster," claims "Barren Monsters," (p. 58) which tells of an abusive relationship between the sister and her partner, a man who hits and pulls her hair, who calls her names. The sister is infertile, presumably because "Monsters and humans can't mate". One would presume, in this case, that it's the partner who is the true monster, but biological femininity will out—the bleeding, the "extra wombs"—for body here defines monstrosity more than action. It's a classification prefigured by early behaviour. The poem "Book of Monsters" (p. 61) states that "As a girl, my sister painted her bedroom's ceiling and walls black". Black, the colour of death, of unconsciousness and falling away, if ever there was one. The monster-sister, building a habitat.
No surprise, then, that this monstrosity is reflected in the death-sister. The walls between realities are narrow things, and easy to split. This is most obvious in the imagery of the death-house. In this world, that house is only visited once, and the door is one way. In Wake, however, the house of death is a place to be visited over and over again as one walks in and out of the underworld, as in myth and legend.
Part of this dual approach is due to the nature of the collection: Wiseman takes a genre-mashing approach, creating a whole out of disparate parts, so that more realistic poems are cheek-by-jowl with explorations of fairy tales (the Little Mermaid and Snow White) and mythology. Part of it, however, harks back to the sister-relationship of death. A sister's house is a place for visits, for taking tea and gossiping—or throwing cups and slamming doors, a grand exit full of pique and refusals. "We don't go there anymore" says the poet (in "Death's House," p. 38) and it's a saying that comes with the echoes of fractured relationships and replacement, for other people are lining up to visit Death's House. Other people live there; they "tread the family carpet, watch the doors". Yet later, in "Sister Death" (p. 46), "We know it's time to visit again" and it's all reminiscences of past lives together, of parties and shared beds and thin walls so that conversations in one room can be heard in the next. The reminiscing isn't kind. It's of a bitter thank-goodness-I'm-well-out-of-it-now sort, an uneasy truce. But if that relationship has notes of realism in it, then they're overshadowed, often, by a text that values a sort of mutual, metaphorical osmosis. In "The Entrance to Death" (p. 64) the same narrator who refuses and remembers crawls over the threshold: "I'm going in. I've been there. I can come back." In "Death's Cameras" (pp. 51-52) it's "Together we'll go back to the living".
But go back to what? Come back as what? As one of the women in "Anthology of the Dead" (p. 40) who gather under an advertising flyer, lured in to tell stories of their own deaths, their own murders? Stories of being strangled, of being framed as a suicide, of the betrayal of sisters and mothers (by sisters and by mothers? or just by daughters?). And these stories they tell—how real are they anyway? Are they just fairy stories of another kind? Ariel the amnesiac mermaid, making things up because "Anyone would forget an event that turned every step into a feeling of knives" (in "Considering Lore," p. 39).
It's a focused collection, Wake, albeit with a focus that blurs to ghost each action with metaphor and myth trailing behind like incense. That focus makes for a very interconnected text that can be a little repetitive but at least is certain of what it is: a study in death and sisterhood, one that stalks behind with a rotting welcome mat.
I read Wake before I read Drink, and really it would have been better to have read them the other way around. Drink appears to be the more foundational work, and large portions of it are dedicated to the portrayal of an abusive, alcoholic mother and the resulting suicide attempt of a sister. The effects of alcohol, of drink, are contrasted in this collection with the imagery of—and poems on—mermaids. It seems an odd combination, at first, and one that relies on wordplay—in the drink, on the drink, and so on. Bottles piling up in the rubbish bin of a cheap motel room; bottles sinking to the ocean floor and being used as toys. Empty bottles broken up and used for art; empty bottles filled with seawater and messages.
Anne Gorrick's Artistic Flow - Featured in the Hudson Valley's publication, Chronogram!!
The front walk to Anne Gorrick's door has been reclaimed by flowers. As metaphors go, it's a bit obvious, but it does seem delightfully apt that you enter the poet's great rambling ship of a house from the side.
A visual artist as well as a poet, Gorrick's latest collection A's Visuality (BlazeVOX, 2015) cross-pollinates these foci, with two suites of art-themed poems ("FOLIOS" transcribes the texts of 28 artist's books she made from found-object fragments of art criticism; "Chromatic Sweep" riffs on color descriptions from Kingston's R&F Handmade Paints) and encaustic monotypes. Her previous books include the densely brilliant language collages Kyotologic (Shearsman Books, 2008), I-Formation, Book 1 (Shearsman, 2010) and I-Formation, Book 2 (Shearsman 2012); she co-curates the electronic journal Peep/Show with Lynn Behrendt. If this body of work suggests an avant-garde wraith in SoHo black layers and high-concept shoes, think again.
Gorrick opens the door in a loose-weave sweater and blue jeans, trying to corral an exuberant black lab named Einstein, more often called Tiny (he isn't). Her eyes are hyacinth blue, her smile infectious. After a high-exclamation point tour of the home she shares with husband Peter Genovese, she sits in the kitchen, popping up almost immediately to pour Cup of Joy chocolate-mint tea. The fragrant steam blends with the heady scent of home-tapped maple sap evaporating on the stove.
It's one of those Hudson Valley households: Wherever you look, something creative is happening. It might be a partially restored vintage rosewood piano, an antique barber chair, a glass-front cabinet of perfume ingredients next to a writing desk made from a motor-repair bench. There are framed prints on the walls (Cynthia Winika's as well as Gorrick's), work boots next to the woodstove. Two stacks of books line the table: Cassandra Danz's Mrs. Greenthumbs series ("kick-ass gardening books") and several volumes on Greek mythology.
One of Gorrick's new projects involves googling Greek gods and goddesses for pop culture and home product namesakes to plunder for poems. "There's an Aphrodite II double-wide mobile home," she exults. "I'm just entranced. I'm beside myself with how much fun this is."
Gorrick is a frequent flyer in cyberspace, often using the "terrible Internet translator" BabelFish to "pour text back and forth into about 20 different languages." The results are a springboard for high-diving poetics.
Does she worry about accessibility? "I think it's okay for people not to be interested in my work," she says. "There's a million other flavors out there." She's a fervent believer in "doing work to please your best, highest self instead of the marketplace;" her nine-to-five job as a college administrator pays the bills so her art doesn't have to.
Gorrick was born in Poughkeepsie. Her parents moved there from northeastern Pennsylvania when the local coal economy collapsed. Gorrick's father was hired by IBM (which ironically also collapsed); her mother taught science. Gorrick attended Spackenkill High School, where she played competitive tennis and studied classical piano. She describes her love of the arts as a "switched at birth" fluke in her science-prone family. "It was not a household with a lot of poetry books," she says drily.
The gateway drug was Sylvia Plath's Ariel, which she read in junior high. "I didn't even know what she was talking about, but it was so powerful," Gorrick recalls. "I didn't know you could do that with language. It gets into your skin like a scar." Then she discovered Tristan Tzara's Dada poems, which opened a door to experimental poetics. She pursued a traditional English degree at SUNY New Paltz, but had "the nagging sensation there must be something else." She found it in Clayton Eshleman's seminal periodical Sulfur: A Literary Tri-Annual of the Whole Art. "I thought, this is the community I want to be writing in."
It seems safe to say that she got her wish. Gorrick and poet Sam Truitt just edited In|Filtration: An Anthology of Innovative Poetry from the Hudson River Valley (Station Hill of Barrytown, 2015). Featuring 64 area poets and spanning nearly 400 pages, it's a mighty watershed of a book.
Even at a glance, it's clear we're not in Kansas anymore. The first offerings are three documentary poems by Mark Nowak, a photo-and-text excerpt from Carolee Schneemann "ABC—We Print Anything—In the Cards," and a 10-word poem by Sparrow; the last, L. S. Asekoff's "Yangshuo in a Drizzle," consists entirely of punctuation. There are poems written sideways, shaped into spirals, spaced across pages or printed in side-by-side columns. "Station Hill's Susan Quasha did a great job with the design—that's a lot of disparate work to fit under two covers," Gorrick says. In a preface, she and Truitt explain that they sought "poets whose work either shows originality of form or makes use of poetic conventions in new ways: old bottle/new wine; new bottle/old wine; and, sometimes, new bottle/new wine."Read more »
Those Godawful Streets of Man by Stephen Bett reviewed in Pacific Rim Review of Books (10th Anniversary Edition)
Those Godawful Streets of Man by Stephen Bett
reviewed in Pacific Rim Review of Books (10th Anniversary Edition)
Reviewed by Richard Stevenson
I love what Stephen Bett is doing with language in his latest opus. I call it word jazz: poetry generated as much by sound association as image association; what Charles Olson called Projective Verse—proprioceptive poetry that lives in the moment and leaps playfully through word association nets not so much to create a thing, as to arrest the movement of the mind as it moves through microcosms and macrocosms of the cityscape, reflecting on and refracting what the poet finds.
Let me lay my cards out. I’ve been in a long love affair with English language haikai poetry (haiku, senryu, tanka, kyoka, zappai, renku); Kerouacian “pops” and Ginsberg’s “American Sentences”; trad to avant garde ‘ku; imagism; found poetry; realist and neosurrealist styles. So, after a bout of jazz poetry and performance in homage to Miles Davis, and performing cryptocritter/alien poems at kidlit conferences and local bandshell/gazebos (Frank Zappa for Tweens) with my jazz/rock troupe Sasquatch, I’ve been getting low and digging wit, irony, humour, epiphanies, bumper snicker spam-ku, scifaiku, for a good ten years or more.
Hence, I love the paradox of the so-called “wordless poem,” erasure, minimalism in all its modes, modern and post-modern. Bett’s his own man here. He’s absorbed the lessons of Donald Allen’s New American poets—the Objectivists, Beats, Black Mountain, New York and San Francisco schools, etc.; the Canadian Tish poets’ experiments with vernacular phonological phrasing in open form; the studious avoidance of the “burnished urn” Modernist reliance on myth, metaphor, and intellectual conceits, dense allusion, tight boxed containers.
Not that Bett’s poems aren’t marvelously allusive; the bric-à-brac of pop culture is all here: movies, cell phones, the Web, selfies, Tweets and all manner of squawks from the Interface. But there is nothing overtly confessional and the stitches and strophes are as comfortable and companionable as a Tetley Tea bag or
new silk pyramid of the latest craft tea. The allusions are to pop culture events: post-modern texts, not obscure texts. The reader is invited in—to squalid coldwater flats of yesteryear newly converted for the addicted and down-and-out of the lower east side of Vancouver, with sparking bare wires spitting between poles, maybe—but, no matter: the urban experience touches everyone and the reader will supply his or her own meta-narratives where the minimalist directive of the poet’s overarching narrative allows.
This is minimalism for readers who like their poems fat: rich, but sans impasto or ornament. A book of raw wire in the city: edgy, tense, sharp, angular, dangerous— in the electrified, computerized grids of cityscape we inhabit, and in the boxes we place each other in and peer out from; pole to pole down the dirty low-rent boulevard, in back alleys, out to suburbia, as we attempt to touch through wires and wireless interfaces, en face, live and in person in an age of celebrity cast-off culture and relationships.
At the heart of the book and appearing late in the accumulating narrative—the overall alienation we 21st-century zombie citizens feel facing globalization and its feral children—is the story of a dissolving relationship, the man too earnest and accepting; the woman raging and fading into madness. But nothing is cloying or mawkish or sentimental, or even confessional; instead we shift easily from a sort of Special Victims Unit episode of macro family skeleton news:
Then there was cousin
down the shop for smokes
Wife and baby daughter
at home for five
Read more »
READ THE WHOLE REVIEW in the Pacific Rim Review of Books (10th Anniversary Edition)